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ISSUE 375 OCTOBER 2026

A CAPSULE OF THE WORLD

DEESIS

“My fiery protest is simply the cry of my very soul.” ÉMILE ZOLA

EDITORIAL “We are like books. Most people only see our cover, the minority read only the introduction, many people believe the critics. Few will know our content.” ÉMILE ZOLA

“THE LANDSCAPE BECOMES REFLECTIVE, HUMAN AND THINKS ITSELF THOUGH ME. I MAKE IT AN OBJECT, LET IT PROJECT ITSELF AND ENDURE WITHIN MY PAINTING... I BECOME THE SUBJECTIVE CONSCIOUSNESS OF THE LANDSCAPE, AND MY PAINTING BECOMES ITS OBJECTIVE CONSCIOUSNESS.” PAUL CÉZANNE

rom the moment I start a new novel, life’s just one endless torture. The first few chapters may go fairly well and I may feel there’s still a chance to prove my worth, but that feeling soon disappears and every day I feel less and less satisfied. I begin to say the book’s no good, far inferior to my earlier ones, until I’ve wrung torture out of every page, every sentence, every word, and the very commas begin to look excruciatingly ugly. Then, when it’s finished, what a relief! Not the blissful delight of the gentleman who goes into ecstasies over his own production, but the resentful relief of a porter dropping a burden that’s nearly broken his back... Then it starts all over again, and it’ll go on starting all over again till it grinds the life out of me, and I shall end my days furious with myself for lacking talent, for not leaving behind a more finished work, a bigger pile of books, and lie on my death-bed filled with awful doubts about the task I’ve done, wondering whether it was as it ought to have been, whether I ought not to have done this or that, expressing my last dying breath the wish that I might do it all over again!” ÉMILE ZOLA, THE MASTERPIECE

ON THE COVER: The Christ Pantocrator, located in the south gallery of the Hagia Sophia in Istanbul, Turkey, was created around 1261 AD, shortly after the Byzantines regained control of Constantinople from the Latin Crusaders. It’s considered one of the most outstanding examples of Byzantine art ever made. Photo Raimond Klavins. THIS PAGE: Sainte-Victoire Mountain, located just east of Aix-en-Provence, is world-renowned, thanks in large part to the 87 paintings by artist Paul Cézanne. Photo Olivia Chaber. SALES AND CREATIVE DIRECTOR SEAN ELLUL SELLUL@INDEPENDENT.COM.MT DESIGNER CONRAD BONDIN CBONDIN@INDEPENDENT.COM.MT PRODUCTION MANAGER ANDRE CAMILLERI ACAMILLERI@INDEPENDENT.COM.MT PUBLISHER STANDARD PUBLICATIONS, STANDARD HOUSE, BIRKIKARA HILL, ST JULIAN’S. TEL: 00356 2134 5888, WEB: WWW.INDEPENDENT.COM.MT FACEBOOK FIRSTMAGAZINE INSTAGRAM FIRSTMAGAZINEMALTA PRINTER PRINT-IT. FIRST IS PUBLISHED AS A COMPLIMENTARY MAGAZINE WITH THE MALTA INDEPENDENT ON SUNDAY AND IS NOT TO BE SOLD SEPARATELY. NO PART OF THE PUBLICATION MAY BE REPRODUCED WITHOUT THE PRIOR AGREEMENT OF THE PUBLISHER. FIRST MAGAZINE SINCE 1993. CELEBRATING 33 YEARS. ISSUE NUMBER 375.

CONTENTS

LA DOLCE VITA. A Passage to Istanbul. From Rome to Istanbul, La Dolce Vita Orient express brings a contemporary Italian perspective to one of the great journeys in travel history. Photo Oliver Astrologo © La Dolce Vita Orient Express 2026.

INTERIORS. Hotel Cipriani, A Belmond Hotel, remains one of Venice’s most sought-after addresses. Now, in a multi phase renovation, celebrity architect Peter Marino reimagines the aesthetic experience. Inside the Reception Area and Library by Peter Marino at Hotel Cipriani, A Belmond Hotel, Venice. Conrad Marca-Relli artwork. Photo Matthieu Salvaing, courtesy Belmond.

CONTENTS

LA DOLCE VITA

A Passage to Istanbul. La Dolce Vita Orient Express.

INTERIORS

Venice Reframed. Celebrity Architect Peter Marino’s Vision For Hotel Cipriani.

ARCHITECTURE SPECIAL 17-PAGE FEATURE

The 2026 Premju Galizia Winners and Finalists.

PENSION PLANNING Tax Efficiency and Smart Structuring. Making More of What You Have.

HEALTH & WELLBEING ACTIVE AGEING & MENTAL HEALTH. Why Mental Health, Independence and Respect Matter.

ARCHITECTURE. SPECIAL 17-PAGE FEATURE. The 2026 Premju Galizia Winners and Finalists. Single Dwelling Design Award Finalist – St John The Baptist Street House, Sliema. Lead Perit/i: Valentino Architects. Photo Julian Vassallo.

THE LONGEVITY QUESTION RETHINKING THE WAY WE AGE. People Who Lift Weights Live Longer.

GASTRONOMY

Cézanne’s Provence. Market Days, Sunlight and Southern French Gastronomy. The Art of “Bon Appétit!”.

THIS IS WINE TASTING NOTES

Ducru-Beaucaillou 2019. Bichot Richebourg 2001. Troplong Mondot 2014. Castillo Ygay 2009.

GASTRONOMY. The Art of “Bon Appétit!” At the weekly market in Aix-en-Provence, regional specialities like goat cheese, Comté, and Beaufort. Photo Margit Knobloch.

TASTING NOTES with Kris @FirstThisIsWine. This month: Ducru-Beaucaillou, Bichot Richebourg, Troplong Mondot, Castillo Ygay.

CONTENTS [ISSUE 375. OCTOBER 2026]

LA DOLCE VITA

LA DOLCE VITA ITALY TO THE ORIENT

A PASSAGE TO ISTANBUL

FROM ROME TO ISTANBUL, LA DOLCE VITA ORIENT EXPRESS BRINGS A CONTEMPORARY ITALIAN PERSPECTIVE TO ONE OF THE GREAT JOURNEYS IN TRAVEL HISTORY, CROSSING A CONTINENT AT A PACE DESIGNED FOR DISCOVERY. Photography courtesy La Dolce Vita Orient Express.

This page: A close-up of the La Dolce Vita Orient Express livery, where custom brass accents meet rich wood panelling. Designed by Dimorestudio, the exterior nods to the glamour of 1960s Italian design. © La Dolce Vita Orient Express, photo Mr Tripper. 9

LA DOLCE VITA

Above: The dining experience aboard is curated by three-Michelin-starred Chef Heinz Beck. © La Dolce Vita Orient Express 2026 Ph Food Feels. Right: La Dolce Vita Orient Express, the first luxury train crafted in Italy, made its highly anticipated debut in spring 2025 with a bold mission: to redefine the very essence of travel on the move. © La Dolce Vita Orient Express 2026, photo Ata De Cin.

his October, La Dolce Vita Orient Express embarked on its most exciting adventure yet, launching the iconic route between Rome and Istanbul that once defined the golden era of European rail travel. After its successful debut in spring 2025, the Italian luxury train expands beyond domestic routes, bringing back one of the most legendary journeys in travel history with a

fresh, modern twist on Italian hospitality, design, and cuisine.. Over five days and four nights, the route winds through Italy, Hungary, Romania and Turkey, linking some of Europe’s most captivating cities and landscapes. Starting in Rome, the journey moves at a leisurely pace that’s hard to find in modern travel, replacing airport lounges and rushed connections with panoramic views, unhurried dinners and the joy of seeing a continent unfold, mile by mile.

Sundays are free at MICAS! Malta’s award-winning contemporary art museum MICAS opens its doors free of charge every Sunday – and lays on a guided tour as well What better way is there to spend a Sunday morning walking through a 17th century fortification in the company of some of the most remarkable contemporary painting the world has to offer? At MICAS, the Malta International Contemporary Art Space in Floriana, it costs nothing at all. Every Sunday, from 10am to 6pm, admission is free, with access to the current exhibition A New Life Force, with a MICAS-trained guide leading a free tour of the galleries at 11am. There is no need to book: places go on a first-come, first-served basis. On any other day, adult admission is €10. A New Life Force brings together three painters, Nathanaëlle Herbelin, Kemi Onabulé and Megan Rooney, with a show that makes the case for painting as an art of urgency and vitality. It runs until 31 January 2027. MICAS is a spectacular building worth the visit alone—a former military creation now drawn together beneath an iconic steel roof, with tiered galleries that are step-free throughout, friendly to wheelchairs and pushchairs, with accessible toilets and baby-changing facilities—useful for anyone bringing children along!

A building that keeps winning Already one of Malta’s most celebrated feats of architecture, this year, MICAS received the President’s Award at the Premju Emanuele Luigi Galizia, the top honour at Malta’s national architecture awards. It is the latest in a steady run of honours. At the Din l-Art Ħelwa Architectural Heritage Awards, MICAS won took the Judge Maurice Caruana Curran Award for the best winner across all categories. At the Public Service Awards 2025, it was named Project of the Year, and at Arts Council Malta’s Arts Awards 2025, MICAS executive chairperson Phyllis Muscat received the Artistic Vision Award for conceiving and overseeing the project. And the critics have followed: earlier this year, the exhibition Reggie Burrows Hodges: Mela was named a must-see by both Frieze and Artsy. “MICAS is the proof that small nations can dream big,” Phyllis Muscat says. MICAS Executive Chairperson Phyllis Muscat, third from right, with the Premju Galizia President’s Award, alongside MICAS leadership and architectural partners

And on a Sunday, that dream is free to visit! Visiting

Ospizio Complex Bieb il-Pulverista Triq Joseph J. Mangion Floriana FRN1830, Malta

Open Tuesday to Sunday, 10am to 6pm – closed Mondays. Free admission every Sunday, with a guided tour at 11 a.m.

www.micas.art

LA DOLCE VITA

This Page: Inside Roma Ostiense station, the Orient Express lounge by Hugo Toro blends historic charm with modern sophistication. Inspired by Art Deco, the design offers a fresh, refined interpretation. Materials play a key role in shaping the atmosphere, with original mosaics by Giulio Rosso and Maria Zaffuto carefully preserved alongside travertine, a stone closely linked to Roman architecture. A reflective orange ceiling and tubular neon lights bring brightness and contrast to the vintage setting. Architectural details, like coffered elements, mix seamlessly with travel-themed artworks, creating a cohesive space that celebrates both the station’s purpose and its rich heritage. © La Dolce Vita Orient Express, photography Mr Tripper.

he new international service is a natural next step for a train designed to celebrate Italian culture on the move. Since its debut, La Dolce Vita Orient Express has featured eight carefully curated routes spanning 14 Italian regions, inviting passengers to enjoy the nation’s artistic treasures, stunning scenery, and renowned culinary delights – all from the comfort of one of Europe’s most eagerly awaited luxury rail experiences.

Onboard, every detail celebrates Italy’s creative spirit. The train features 31 cabins, including 18 suites, 12 deluxe cabins, and the exclusive La Dolce Vita Suite. Although built from restored Z1 railway carriages, the interiors, conceived by Milan-based Dimorestudio, present a sophisticated vision of contemporary luxury inspired by the design culture of the 1960s. References to Gio Ponti, Gae Aulenti and Osvaldo Borsani appear through carefully curated materials, geometric forms and richly layered spaces that capture the glamour of post-war Italy while staying rooted in the present.

LA DOLCE VITA

This and facing page: La Dolce Vita Orient Express pays homage to an era, a philosophy, and a country synonymous with elegance, celebrating the golden age of Italian glamour. This train offers a unique experience that captures the essence of Made in Italy, honoring its cultural, scenic, and culinary heritage across 14 regions and eight iconic routes. On board, there are 31 cabins, including 18 suites, 12 deluxe cabins, and the luxurious La Dolce Vita Suite. Designed by Dimorestudio, the interiors blend contemporary style with a tribute to the artistic and eclectic spirit of 1960s Italy. © La Dolce Vita Orient Express 2026, photography Mr Tripper.

LA DOLCE VITA

he experience starts well before departure, as guests gather in the Orient Express Lounge at Rome’s Ostiense Station. Designed by architect Hugo Toro, the space blends history and modern style, with original mosaics paired with travertine surfaces, sculptural lighting, and a bold burnished orange lacquered ceiling. The result is a setting full of anticipation, perfectly setting the mood for what lies ahead. Once the train leaves Rome, dining quickly becomes one of the highlights of life on board. Menus crafted by three-

Michelin-starred chef Heinz Beck showcase regional ingredients and culinary traditions, with dishes inspired by the landscapes and towns along the route. Each meal reflects a different aspect of the journey, blending local culture, seasonal flavours, and the artistry of Italian cuisine. The first major stop is Venice, whose canals, palazzi and artistic treasures continue to captivate travellers centuries after the city’s maritime zenith. From there, the train proceeds to Budapest, where imperial architecture, grand boulevards and thermal baths offer a glimpse into Central Europe’s rich cultural history. 15

LA DOLCE VITA

Above: Inside a Suite Cabin. The Suite cabins are designed as master bedrooms, featuring a sofa and a table with two armchairs to encourage a social atmosphere on board. © La Dolce Vita Orient Express 2025, photo Mr Tripper. Left: La Dolce Vita Orient Express crossing through Tuscany. © La Dolce Vita Orient Express 2026. Below: A solitary gondola glides past Palladio’s 16th-century masterpiece, the Church of San Giorgio Maggiore – capturing the timeless, cinematic allure of Venice, the first stop on the La Dolce Vita journey. © La Dolce Vita Orient Express, photo Fabio Demitri.

urther east, the landscapes become increasingly dramatic. In Brașov and Sinaia, guests encounter medieval streets, mountain scenery and elegant architecture set against the backdrop of the Carpathians. These Romanian destinations provide some of the journey’s most evocative moments, where history, geography and culture converge in remarkable fashion. The journey’s last leg heads to Istanbul, the city that cemented the Orient Express’s place in popular imagination. Here, where Europe meets Asia, passengers are greeted by a skyline of domes and minarets, grand palaces, and lively markets that have captivated travellers for generations. Few places provide such a fitting finale to a rail adventure shaped by centuries of cultural exchange between East and West.

OSCAR WILDE’S

LA DOLCE VITA

n October 1883, the Orient Express completed one of the most legendary journeys in the history of travel by reaching Constantinople for the first time, redefining the very idea of luxury travel. One hundred and forty-three years later, this heritage is reborn, unveiling a contemporary interpretation the iconic journey. The route arrives at a moment when slow travel has regained its appeal among discerning travellers seeking depth, connection and a greater appreciation of place. La Dolce Vita Orient Express answers that desire through an experience that combines exceptional service, thoughtful design and a journey filled with discovery. In the nineteenth century, railways symbolized technological progress and geopolitical links. In 2026, the Rome-Istanbul line embraces a deeper philosophical vision, inviting us to rediscover the value of time and the simple joy of travel. Above: An aerial photograph of Budapest, Hungary, looking down from above the historic Castle District on the Buda side of the city. The Danube divides hilly Buda (left foreground) from flat Pest (right background). Middle: Budapest, looking out over the Danube River at twilight. The historic Széchenyi Chain Bridge connects Buda and Pest. Left: Mimar Sinan’s 16th-century masterpiece, the Süleymaniye Mosque, crowns Istanbul’s historic skyline, offering an unforgettable golen-hour vista for those arriving via the new La Dolce Vita Orient Express. © La Dolce Vita Orient Express 2026, photography Oliver Astrologo.

LA DOLCE VITA

Above: Twilight falls over the historic Galata district in Istanbul – the breathtaking final destination on the new La Dolce Vita Orient Express itinerary. Below: A beautiful sunset glowing over the Bosphorus Strait, looking out from the European side of Istanbul. © La Dolce Vita Orient Express 2026, photography Oliver Astrologo.

INTERIORS

VENICE, REFRAMED

PETER MARINO’S VISION FOR HOTEL CIPRIANI

NEARLY SEVEN DECADES AFTER OPENING ITS DOORS, HOTEL CIPRIANI, A BELMOND HOTEL, REMAINS ONE OF VENICE’S MOST SOUGHT-AFTER ADDRESSES. NOW, IN A MULTI PHASE RENOVATION, FAMED ARCHITECT AND INTERIOR DESIGNER PETER MARINO, HAS BEEN ENTRUSTED TO REIMAGINE THE AESTHETIC EX PERIENCE OF HOTEL CIPRIANI, PRESERVING ITS SOPHISTICATED ALLURE, WHILE REINTERPRETING ITS FABLED DOLCE VITA SPIRIT. Photography Matthieu Salvaing, courtesy Belmond.

This page: Inside the Reception Area and Library by Peter Marino at Hotel Cipriani, A Belmond Hotel, Venice. Conrad Marca-Relli artwork.

INTERIORS

otel Cipriani: few names have evoked such a sense of timeless glamour, cinematic magic and elegance, in Venice and beyond. Opened in 1958 on the tip of Giudecca Island, it quickly became a favourite among artists, film stars, writers and designers drawn by its rare combination of seclusion and spectacle. Glamorous guests of past and present – from Yves Saint Laurent and Sophia Loren to George Clooney and Madonna, have all enjoyed the privacy of the hotel, whose history is layered with countless stories. Across the lagoon from St Mark’s Square, the hotel occupies a privileged position within the city: close to the cultural energy of Venice, yet removed from its constant bustle. Surrounded by the luscious Casanova Gardens, complete with its famous saltwater swimming pool and red-clay tennis court, it uniquely offers a different Venetian experience. An emblem of vintage allure, Hotel Cipriani is also the starting point of Belmond’s story as the first acquisition in 1976. Above: Reception area Conrad Marca-Relli artwork and Antique Console. Left: Marino wisely preserved the original timber reception, recognising the affection generations of guests hold for the space, while introducing a luminous double-height lobby adjacent to it. Filled with natural light and visually connected to the gardens and pool beyond, the new lobby establishes a stronger relationship between architecture, landscape and lagoon views.

INTERIORS

Above: Hotel Library. Left: Portrait: Peter Marino seated in front of an Emilio Vedova Artwork. “Since its opening, Hotel Cipriani has been a stage for the Italian ‘Dolce Vita’, a place where timeless glamour meets relaxed luxury. I am honoured to redesign the future of this unique Hotel, a place of fond personal memories. The world’s great artists, actors, singers and society all mingled at this very special place and my goal is to rekindle that magic,” says Peter Marino.

oday, that story is entering a new chapter through a multi-phase transformation led by architect and designer Peter Marino, whose admiration for Venice extends beyond architecture. As Chairman of the Venetian Heritage Foundation, Marino brings both scholarship and personal affection to the project, drawing upon the city’s layered history while ensuring Hotel Cipriani, A Belmond Hotel, Venice remains relevant to contemporary travellers. “Since its opening, Hotel Cipriani has been a stage for the Italian ‘Dolce Vita’, a place where timeless glamour meets relaxed luxury. I am honoured to redesign the future of this unique Hotel, a place of fond personal memories. The world’s great artists, actors, singers and society all mingled at this very special place and my goal is to rekindle that magic,” says Marino.

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INVESTMENT ADVICE | WEALTH MANAGEMENT | CORPORATE SERVICES | STOCKBROKING | PENSIONS

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INTERIORS

Facing page: Vibrant Hotel Restrooms with Giò Ponti Mirrors at Hotel Cipriani, A Belmond Hotel, Venice by Peter Marino. Above: Junior Suite Bathroom. Right: Bed Board Detail.

is intervention draws inspiration from three distinct eras: the grandeur of Old Venice, the exuberant cultural atmosphere of the post-war decades – the vibrant Dolce Vita of the 1950s and 60s – during which the hotel first emerged, and the bold spirit of contemporary art and design. Together, these references form the foundation of a carefully considered transformation that seeks to enhance rather than overwrite the hotel’s identity. The first phase, unveiled in 2025, focused on the arrival experience and a collection of suites. Marino wisely preserved the original timber reception, recognising the affection generations of guests hold for the space, while introducing a luminous double-height lobby adjacent to it. Filled with natural light and visually connected to the gardens and pool beyond, the new lobby establishes a stronger relationship between architecture, landscape and lagoon views.

INTERIORS

t the same time, thirteen rooms were entirely redesigned, including the Serenissima and Laguna Master Suites. Conceived as private Venetian apartments, each combines salon, library and dining spaces with sweeping views across the water. Eleven additional suites and junior suites overlook the Casanova Gardens from private balconies, creating an atmosphere that balances residential comfort with the romance of Venice. The reveal marked a transformative evolution of the hotel’s identity, blending historic relevance with modern comfort and sophistication. Throughout the interiors, Marino’s approach is rooted in craftsmanship. References to old Venice appear through architectural detailing, artisanal materials and carefully selected objets d’art, while works inspired by the Biennales of the 1950s and 1960s evoke the period during which Hotel Cipriani became synonymous with international style. Contemporary art introduces another layer, ensuring the interiors maintain a dialogue with the present. Above: Junior Suite Bathroom. Left: A luminous Hotel Corridor at Hotel Cipriani, A Belmond Hotel, Venice by Peter Marino. Below: Venetian Terrazzo Floor and Bed Side Table Detail.

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INTERIORS

Thirteen rooms have been entirely redesigned, including the Serenissima and Laguna Master Suites. Conceived as private Venetian apartments, each combines salon, library and dining spaces with sweeping views across the water. Above: Laguna Suite Living Room and Carla Accardi Artwork. Below: Laguna Suite Living Room and Saverio Rampin Artwork. Facing page: (Top) Serenissima Entrance. (Below left) Laguna Suite Entrance. (Below right) Laguna Suite Guest Bathroom.

he evolution continued in spring 2026 with two significant additions: the first Dior Spa in Venice and a reimagined Oro, the hotel’s Michelin-starred restaurant. The new spa draws inspiration from Venetian balls and Christian Dior’s passion for art, beauty, and celebration. Guests move through a sequence of treatment spaces offering advanced facial therapies alongside holistic wellness rituals, all conceived within an elegant setting that reflects both Venetian craftsmanship and the Dior universe.

INTERIORS

Above left: Serenissima Suite Studio. Above: Laguna Suite Bathroom Floor Detail. Left: Serenissima Suite Bathroom. Below: Serenissima Suite Living Area.

or Thomas Schwall, General Manager of Hotel Cipriani, A Belmond Hotel, Venice, the renovation marks a significant milestone for the Venetian icon. “Our team is thrilled with the visionary work of Peter Marino, whose timeless elegance, contemporary design, and masterful curation of artwork will seamlessly blend classic sophistication with modern comfort, ensuring our guests continue to experience the unparalleled service and ambiance for which Hotel Cipriani is renowned.” The broader transformation reflects Venice’s long-standing role as a crossroads of cultures. From the merchants who travelled the Silk Road to the artists and collectors drawn to the Biennale today, the city has always absorbed influences while maintaining a distinct character. Marino channels that spirit throughout the project, creating interiors that draw together different eras, materials and cultural references with ease.

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ARCHITECTURE PREMJU EMANUELE LUIGI GALIZIA 2026

BUILDING OUR FUTURE THE PREMJU EMANUELE LUIGI GALIZIA CELEBRATES THE ARCHITECTS, PLANNERS AND DESIGNERS SHAPING THE FUTURE OF MALTA’S BUILT ENVIRONMENT. This year’s winners demonstrate how thoughtful design can address contemporary challenges while enriching the character, sustainability and liveability of the islands. Photography courtesy Kamra tal-Periti.

he Premju Emanuele Luigi Galizia celebrates Maltese excellence in the built environment, recognising projects that elevate the quality of architecture, planning and design across the islands. This year’s edition marks an important evolution, with the Kamra talPeriti and the Planning Authority coorganising the programme for the first time. The partnership signals a shared commitment to championing thoughtful, high-quality development while encouraging greater responsibility, innovation and long-term vision in shaping Malta’s towns, cities and landscapes. Named after Emanuele Luigi Galizia, the distinguished architect and civil engineer whose work helped define modern Malta, the awards honour projects that demonstrate design excellence, multidisciplinary

PREMJU GALIZIA 2026

Facing page: (Top) MICAS Main Entrance. (Below) Night time view of main entrance. Above right: Gallery at Level 1. Photography Pietro Savorelli.

collaboration and a meaningful contribution to society. Galizia played a central role in the country’s transformation during the late 19th century. His enduring landmarks include Addolorata Cemetery, the Turkish Military Cemetery in Marsa, Victoria Gate, the Vincenzo Bugeja Institute and Alhambra, his summer residence in Sliema. A Fellow of the Royal Institute of British Architects and a member of the Institution of Civil Engineers, his influence extended well beyond Malta’s shores. Galizia’s principles, meticulous attention to detail, civic responsibility and a holistic approach to design, continue to inform the spirit of the awards today. The programme highlights projects that engage thoughtfully with contemporary challenges while offering considered responses to the future of the built environment.

This year’s Core Category winners included MICAS – Malta International Contemporary Art Space in Floriana (Lead Perit/i: Restoration and Preservation Department / Architecture Design Perit/i: Ipostudio Architetti, Florence, Italy), which took home both the Adaptive Reuse Award and the President’s Award, and Rabat Gozo Primary School (Lead Perit/i: PERITI STUDIO), winner of the Public Projects Award. Two projects by Lead Perit/i: Karl Ebejer, Anthony Bonnici were winners in this years edition – Dar Sikada in Gharghur earned the Single Dwelling Design Award, while SAMA in Hamrun won the Workplace Design Award. The Jesuits Church in Valletta claimed the Built Heritage Conservation Award, and Stilla San Mikiel Guesthouse in Senglea (Lead Perit/i: Valentino Architects) won the Hospitality Design Award. In the Special Categories, the Unbuilt Projects Award

went to URNA, Malta (Commissioner: Malta Arts Council, Lead Perit/i: Anthony Bonnici), while the President’s Student Medal – Architectural Design Medal was awarded to BastuBaћar by Matthias Galea Souchet. In the Role Model Awards, Steve Zammit Lupi received the Galizia Leadership Award, and Perit Joseph Bugeja was honoured with the Lifetime Achievement Award. This year’s winners and finalists reflect many of the questions shaping Malta today, from the adaptive reuse of historic buildings and urban regeneration to housing, hospitality, public spaces, infrastructure and conservation. As the awards continue to evolve, they remain an important platform for recognising best practice, fostering public dialogue and encouraging a more people-centred and sustainable approach to development across Malta and Gozo. 35

ARCHITECTURE

Above: Gallery Level 3, with Artworks. Photo Julian Vassallo. Below: Gallery at Level 3. Photo Pietro Savorelli.

ADAPTIVE REUSE AWARD WINNER, PUBLIC PROJECTS AWARD FINALIST, AND PRESIDENT’S AWARD WINNER

MICAS – MALTA INTERNATIONAL CONTEMPORARY ART SPACE, FLORIANA Client: MICAS – Malta International Contemporary Art Space. Lead Perit/i: Restoration and Preservation Department (RPD), Malta. Architecture Design Perit/i: Ipostudio Architetti, Florence, Italy.

ICAS, the Malta International Contemporary Art Space, transformed a previously inaccessible section of the Floriana Lines into a striking new destination for contemporary art. Set within the historic fabric of San Salvatore Bastion, La Vittoria Bastion, Barbara’s Arch and the Ritirata ditch, the project brings together architecture, conservation, archaeology, engineering and landscape design, allowing the fortifications themselves to shape the organisation and character of the galleries. Barbara’s Arch underwent a particularly sophisticated repair, combining craftsmanship with contemporary engineering. Elsewhere, a wartime breach has been retained within the galleries, preserving a tangible connection to the site’s layered past. The new exhibition spaces occupy the terraced Ritirata ditch, where former defensive platforms now unfold as a sequence of gallery levels. Contemporary architectural elements sit lightly within the historic setting, with walkways, ramps and lifts linking terraces, sculpture gardens and landscaped routes. The result reconnects a long-isolated military enclave with Floriana while creating new public spaces and cultural opportunities, and demonstrates how historic infrastructure can accommodate a contemporary cultural programme while retaining its architectural depth and historical significance.

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ARCHITECTURE

D PUBLIC PROJECTS AWARD WINNER, AND ADAPTIVE REUSE AWARD FINALIST

RABAT GOZO PRIMARY SCHOOL Client: Foundation For Tomorrow Schools. Lead Perit/i: Periti Studio. Photography: Alex Attard.

esigned by Periti Studio, this educational project brings new life to a school originally conceived by modernist architect Joseph Huntingford, balancing respect for 20thcentury architecture with contemporary approaches to learning, sustainability and site stewardship. The design places children at its centre, using colour, texture and spatial variety to create environments that support curiosity, orientation and engagement. Rather than relying on applied decoration, colour is woven directly into the architecture through carefully composed masonry facades, where recessed and projecting elements give the building depth and identity. A strong connection to the landscape shapes the scheme throughout. The building is set back from the street to create a green threshold, while custom cantilevered structures allow mature trees to grow through the architecture itself. As the planting develops, the canopy will become an integral part of the school’s character, contributing shade, biodiversity and a richer relationship between indoors and outdoors. Environmental performance is guided by passive design principles suited to the Mediterranean climate. Traditional ħasira bamboo screens, mounted on sliding systems, provide adaptable solar protection while drawing on local building traditions. Archaeological discoveries uncovered during construction, including a Roman quarry and a presumed Punic tomb, have been incorporated into the campus, transforming ancient remains into everyday educational resources and enriching the experience of pupils and visitors alike.

Sagħtar – ir-rivista popolari bil-Malti għat-tfal, iż-żgħażagħ u l-adulti – hija ppubblikata kull xahar minn Ottubru sa Mejju! 56 faċċata ta’ artikli informattivi, stejjer interessanti, poeżiji, logħob u kompetizzjonijiet bi premjijiet sbieħ. Idħlu www.saghtar.org.mt għal iktar informazzjoni u biex tabbonaw online. Sagħtar – the well-renowned Maltese magazine for children, youths and adults – is out every month from October to May! 56 pages of interesting stories and information, poems, games and competitions with exciting prizes. Visit www.saghtar.org.mt for more information and to subscribe online.

Sagħtarin – il-ktieb tal-attivitajiet għat-tfal tas-snin bikrin – joħroġ kull xahrejn bejn Novembru u Mejju. Jinkludi qari ħafif, tpinġija, logħob u ħafna iktar. Idħlu www.saghtar.org.mt għal iktar informazzjoni u biex tabbonaw online. Sagħtarin – the activity book for young readers – is issued bimonthly between November and May. It includes simple reading, drawing and colouring activities, games and much more. Visit www.saghtar.org.mt for more information and to subscribe online.

ARCHITECTURE

SINGLE DWELLING DESIGN AWARD WINNER, AND ADAPTIVE REUSE AWARD FINALIST

DAR SIKADA, GHARGHUR Lead Perit/i: Karl Ebejer, Anthony Bonnici. Photography: Thomas Mifsud and Anthony Bonnici.

ar Sikada began with two disparate structures, a British barrack and a rural farmhouse, positioned at opposite ends of a terraced landscape. Over time, a collection of garages and ancillary rooms had accumulated between them. Their removal restored the relationship between the buildings and revealed the landscape as the project’s organising element. The transformation focused on retaining the barrack’s distinctive character while adapting it for contemporary family life. Internal partitions that had fragmented its six-metre-high volume were removed, restoring the scale and spatial integrity of the original structure. Non-original openings were closed and the principal entrance reinstated with a single steel door. To accommodate a family of five without altering the barrack’s form, the architects looked beneath rather than beyond. Following a carefully managed nine-month excavation, a new subterranean level was created, housing bedrooms that open directly onto the lower terraces. Throughout the process, the existing structure remained supported and continuously monitored. The resulting composition establishes a clear distinction between old and new. While the barrack and farmhouse sit confidently within the landscape, the extension is embedded within it. Exposed limestone-pigmented concrete links floors, terraces and new volumes, creating a dialogue with the site’s stone and agricultural setting.

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ARCHITECTURE

SINGLE DWELLING DESIGN AWARD FINALIST

ST JOHN THE BAPTIST STREET HOUSE, SLIEMA Lead Perit/i: Valentino Architects. Photography: Julian Vassallo.

his Sliema townhouse explores the relationship between preservation and contemporary living through a carefully considered reworking of a traditional urban home. While the historic street-facing façade has been retained, the rear of the property has been rebuilt, creating a distinct dialogue between the building’s original character and a bold architectural intervention. At the heart of the design is a dramatic double-height living space rising six metres through the centre of the house. Exposed concrete elements introduce sculptural presence against crisp white surfaces, while upper levels overlook the spaces below, creating visual connections throughout the home. An internal courtyard forms the transition between old and new, drawing daylight deep into the plan and supporting natural ventilation alongside strategically positioned skylights and high-level openings. Bedrooms are arranged across staggered levels, balancing privacy with connectivity. Bespoke joinery contributes to a sense of refinement, including a concealed bathroom discreetly integrated within the principal suite. Beyond the interior, a Mediterranean garden and limestone-edged pool extend the living spaces outdoors. Together, architecture, landscape and light transform a constrained urban plot into a highly personal retreat within the heart of Sliema.

ARCHITECTURE

SINGLE DWELLING DESIGN AWARD FINALIST

DAWL, NAXXAR Lead Perit/i: Studjurban, Photography: Sean Mallia Photographer.

awl, the Maltese word for light, reinterprets the traditional terraced house through a thoughtful reorganisation of domestic space. Daily life is elevated to the upper floors, where the kitchen, dining and living areas gather around a central courtyard, while bedrooms occupy the cooler lower levels. This vertical arrangement allows natural light and fresh air to move through the house, animated by a series of twostorey openings and roof skylights that bring changing patterns of sunlight into the interior. Environmental performance is embedded within the architecture. Courtyards, deep reveals, operable openings and louvred screens support passive cooling and cross-ventilation, while limestone and exposed concrete contribute thermal stability throughout the seasons. Traditional materials and durable construction techniques guide the design, alongside provisions for efficient building systems and future renewable technologies. At street level, a garage and workspace accessed from the rear lane support flexible patterns of living and working. Throughout the house, architecture responds carefully to climate, light and daily routines, offering a contemporary interpretation of Maltese domestic life that combines environmental responsibility with enduring comfort.

ARCHITECTURE

WORKPLACE DESIGN AWARD WINNER

SAMA, HAMRUN Client: Fondazzjoni Sebh. Lead Perit/i: Karl Ebejer, Anthony Bonnici. Photography: Thomas Mifsud.

AMA transforms a therapy room within a children’s home into a carefully crafted environment dedicated to care, trust and connection. Conceived as a distinct interior within the larger institution, the project creates a sense of transition from communal daily life to a more personal setting for therapist and child. The existing room’s generous six-metre height presented both a challenge and an opportunity. Rather than subdividing the space, the design introduces a lower datum through blue-stained plywood that extends across the floor and walls, creating a more intimate scale while preserving the volume above. At its centre, a raised square platform provides shared ground for conversation, play and engagement, encouraging a sense of equality within the therapeutic setting. Translucent linen curtains bring flexibility to the room, forming soft spatial boundaries that can be adjusted according to different needs. The intervention extends to the adjoining offices and meeting areas, where the same material language continues throughout. Existing marble slabs have been repurposed as tables, reinforcing a thoughtful approach to resources. Together, these elements create an environment where architecture supports the work of care with sensitivity and purpose.

Founded by Joanne Micallef in Malta in 2011, Faraxa Publishing House brings stories, cultures and perspectives together through the power of books. With a distinctive background in translation and a growing catalogue of literary, non-literary and children's books, Faraxa makes stories accessible across languages, generations and cultures. Today, Faraxa is evolving beyond traditional publishing to become a cultural bridge connecting Malta with the wider world, championing diverse voices, encouraging understanding and inspiring discovery through stories that educate, engage and entertain.

The Garden and I, written by Francesca Tabone (pictured right with Joanne Micallef left) and illustrated by Naomi Gatt, is this year’s winner of the National Book Prize in the Picture Books for Children (Ages 0-7) category. The first book in the Tales from San Anton Gardens series, The Garden and I introduces young readers to the beauty and magic of San Anton Gardens. Children can

discover fountains, the maze, and animals that live within the garden precincts by following the map and walking along the pathways. Francesca and Naomi have also teamed up for the rest of the books in the series, with two additional titles already published: Timothy Shrew and Friends and A Maltese Christmas Feast. The former introduces even more animal characters that live in the

THE FARAXA TRANSLATION SERIES, under the supervision of Professor Toni Aquilina who is also the General Editor of the Series, has filled a void which had been felt for many years. Since 2011, it has been bringing to the Maltese literary scene exceptional works of translation in a wide array of genres (essays, poetry, drama as well as prose). Through this series, Faraxa has introduced writing styles in the Maltese language that had never been seen before, such as the stream-of-consciousness technique, as well as prioritised both classic publications (such as the works of Albert Camus and Franz Kafka) and modern works (such as those by Malala Yousafzai and Tea Ranno). Faraxa has also given

garden highlighting endemic species. The third book, A Maltese Christmas Feast, is a festive, newly released holiday special. Children will be able to explore traditional Maltese cuisine through a fun and engaging narrative. All three books will be on sale at the Faraxa Publishing stand during the Malta Book Festival this year.

Maltese readers access to Nobel Prizewinning authors, Annie Ernaux and Wislawa Szymborska among others. A number of titles in the Faraxa Translation Series have been finalists/winners of the National Book Prize - Id-Djarju ta’ Tfajla written by Anne Frank and translated by Mary Rose Mifsud (winner in 2022), Antigona by Jean Anouilh (winner in 2019), and Milarepa, by Eric-Emmanuel Schmitt (finalist in this year’s Translation category of the National Book Prize), both translated by Toni Aquilina. The Translation Series, fondly known as Il-Kullana tat-Traduzzjonijiet Bil-Malti will have its fortieth title out soon: Nanà by Emile Zola, translated by Prof. Joseph Pulè.

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VISIT THE FARAXA PUBLISHING STAND (NO. 3) AT THE MALTA BOOK FESTIVAL FOR A SPECIAL 3-FOR-2 OFFER ON ALL BOOKS. 4-8 NOVEMBER 2025, MFCC TA’ QALI. FARAXA PUBLISHING, 38, Antonio Nani Street, Rabat. EMAIL info@faraxapublishing.com WEB faraxapublishing.com FACEBOOK booksbyFaraxa

ARCHITECTURE

WORKPLACE DESIGN AWARD FINALIST

MAAK, MRIEHEL Client: MAAK – Maurizio Ascione Architects. Lead Perit/i: Maurizio Ascione. Photography: Matthew Farrugia.

his 120-square-metre mezzanine office in Mrieħel’s Central Business District offered its architects an opportunity to translate their design philosophy into a working environment shaped by wellbeing, collaboration and adaptability. Accommodating twenty workstations, a boardroom, private office, archive and support spaces within a compact footprint, the project responds to the demands of contemporary practice through a carefully structured spatial arrangement. A rigorous geometric framework organises the programme, with a square defining the main workspace, a circle enclosing the boardroom, a trapezium forming the private office and a triangle housing ancillary functions. These forms create distinct zones while maintaining visual continuity across the office. Attention to ergonomics informed every aspect of the design. Bespoke concrete workstations were developed in-house, incorporating integrated cable management and flexible service distribution. Frameless glass partitions preserve daylight throughout the mezzanine while providing acoustic separation where required. Materiality plays an equally important role. Concrete, textured plaster and stone are paired with reclaimed marble offcuts, introducing texture and reducing waste. The result is a workplace that balances focus and interaction, combining technical precision with a strong sense of identity and craftsmanship.

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ARCHITECTURE

WORKPLACE DESIGN AWARD FINALIST

ALTENAR OFFICES, ST JULIAN’S Client: ALTENAR. Lead Perit/i: EM Architects – Dr. Edwin Mintoff. Architecture Design Perit/i: EM Architects – Perit Lesley Mintoff. Photography: Alan Carville.

ltenar’s office reimagines the workplace as a dynamic environment designed around collaboration, flexibility and employee wellbeing. Rather than relying on a conventional arrangement of desks and meeting rooms, the project introduces a variety of settings that support focused work, informal interaction, team discussions and social activity throughout the day. The plan separates employee and visitor circulation, ensuring smooth movement through the space while preserving day-to-day working patterns. Flexible hot-desking is complemented by meeting rooms, dedicated focus areas and a multifunctional social hub, giving staff the freedom to choose how and where they work. References to sport and gaming provide a playful thread throughout the design. Tennis and basketball-inspired meeting rooms, integrated graphics, bespoke lighting and interactive features encourage movement and conversation, creating opportunities for spontaneous engagement away from screens. These elements are balanced by a carefully controlled material palette of warm timber, exposed services, textured surfaces, metal detailing and integrated lighting. Acoustic comfort was a key consideration, with carefully planned divisions and insulation supporting concentration within an open-plan environment. The result is a workplace that combines technical performance with character, offering a highly individual setting where productivity, social connection and creativity are woven into the architectural experience.

ARCHITECTURE

BUILT HERITAGE CONSERVATION AWARD WINNER

THE JESUITS CHURCH, VALLETTA Client: Jesuits’ Church Foundation. Lead Perit/i: Restoration and Preservation Department. Warranted Conservator: Restoration and Preservation Department, AX Construction Ltd.

he restoration of The Jesuits Church in Valletta revives one of Malta’s most significant ecclesiastical landmarks while safeguarding centuries of architectural, artistic and cultural history. Founded by the Jesuits in the late 16th century and influenced by the Roman prototype of Il Gesù, the church occupies an important place in the architectural development of Valletta. The recent programme focused on the interior restoration carried out between 2023 and 2026, following earlier works to the roof and external fabric. Extensive repairs addressed water infiltration, particularly within the dome, while careful conservation uncovered historic finishes concealed beneath later paint layers. Vaults, walls and decorative elements were restored using colours informed by surviving evidence, and sculptural features regained their original presence. The coat of arms of Bishop Tomás Gargallo, marble flooring, commemorative plaques, chapels, altars and major artworks also formed part of the intervention. Research and analysis guided every stage of the project. Historical investigation, laser scanning and scientific testing informed conservation methods, material selection and colour studies, ensuring a sensitive and wellinformed approach throughout. Today, the restored church serves both worshippers and visitors, supporting a growing programme of cultural and academic activity while reaffirming its place within Valletta’s architectural and civic life.

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ARCHITECTURE

T BUILT HERITAGE CONSERVATION AWARD FINALIST

ST THOMAS TOWER, MARSASCALA Client: Malta Tourism Authority and Fondazzjoni Wirt Artna. Lead Perit/i: KED. Photography: Malta Tourism Authority and KED.

he restoration and adaptive reuse of St Thomas Tower in Marsascala has transformed one of Malta’s most formidable coastal fortifications into the Pirates and Corsairs Museum, a new cultural destination dedicated to the island’s maritime history. Built in 1614 under Grand Master Alof de Wignacourt, the tower was designed to protect Malta’s southern coastline and remains the largest of the island’s watchtowers. The €3.4 million project combined extensive conservation works with a contemporary museum programme. Structural consolidation, masonry repairs and the reinstatement of historic features, including the drawbridge, palisade, chapel and musketry loopholes, have restored the building’s architectural character. Archival research informed the reconstruction of key defensive elements, while carefully integrated interventions introduced climate control, accessibility measures, lighting and digital infrastructure. Sustainability formed an important part of the brief, with restored reservoirs supporting rainwater harvesting and energy-efficient systems reducing operational demand. Within the historic structure, immersive exhibitions bring Malta’s complex relationship with piracy and corsairing to life through projection mapping, interactive displays, audiovisual installations and historic artefacts. Visitors encounter stories of seafaring conflict, trade and defence, alongside insights into the enduring influence of maritime culture on the Maltese islands. The project successfully combines conservation, education and tourism within a site of national significance.

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ARCHITECTURE

HOSPITALITY DESIGN AWARD WINNER

STILLA SAN MIKIEL GUESTHOUSE, SENGLEA Client: Stilla. Lead Perit/i: Valentino Architects. Photography: Julian Vassallo.

PREMJU GALIZIA 2026

n Senglea, a guesthouse conversion blends the town’s domestic and industrial character, combining a restored post-war building with a modern rooftop inspired by the nearby dockyard. Just steps from the shoreline, San Mikiel is Stilla’s second property in the Three Cities, following San Lazzru in Cospicua. Six studios and suites span three floors, influenced by the building’s orientation and its connection to the harbour. The original structure and staircase remain, with a lift fitted into the stairwell and façades redesigned to strengthen the link between interior and harbour views. Oak flooring pairs with pink travertine, New Guatemala stone, and birch plywood joinery, while most ceilings are preserved. A unified material palette runs throughout, with subtle variations tailored to each space. Up top, a new extension features a reinforced concrete cantilever holding a steel truss that seems to hover above the old building, separated by a sleek horizontal slit. Outside, it clearly distinguishes old from new; inside, it frames sweeping harbour views. The design nods to the engineered forms of the nearby dry docks, while a rooftop terrace connects the space to the wider landscape. Where San Lazzru looks inward along a narrow Cospicua lane, San Mikiel opens out toward the harbour, each responding to its setting while contributing to Stilla’s dispersed hospitality approach across the Three Cities. 57

ARCHITECTURE

HOSPITALITY DESIGN AWARD FINALIST

SABI & KORA, QAWRA Client: Double Tree by Hilton. Lead Perit/i: Perit Ray DeMicoli/DeMicoli & Associates Architects. Photography: Diana Iskander.

abi and Kora present a contemporary interpretation of Mediterranean hospitality on Malta’s northern shoreline, conceived as a sequence of interconnected spaces shaped by landscape, light and atmosphere. The project stems from a close collaboration between DAAA Haus, led by the creative direction of Keith Pillow, and architect Ray DeMicoli of DeMicoli & Associates Architects, uniting architecture and interior design through a shared vision inspired by landscape, materiality, and experience. Rather than functioning as separate venues, Sabi Café, Sabi Beach Club, Sabi Terrace and Kora unfold as a continuous journey from daytime leisure to evening dining. A timberframed pavilion introduces the experience before opening onto beachside pools and terraces where timber and stone pathways weave between places for gathering and relaxation. The architecture frames views of the sea and sky, allowing the surrounding landscape to remain a constant presence. As the day progresses, Sabi Terrace draws attention towards the horizon and the changing colours of sunset. Beyond it lies Kora, an intimate supper club defined by hand-worked stone, organic forms, sculptural detailing and carefully composed lighting. Throughout the project, a palette of weathering timber, natural stone, terracotta, textured plaster and burnished metals responds to the coastal environment. The result is a hospitality destination that moves seamlessly from sunlit mornings to sophisticated evenings, deeply connected to its Mediterranean setting. 58

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ARCHITECTURE

HOSPITALITY DESIGN AWARD FINALIST

ELEMENTI, MOSTA Client: Antonella Sammut Vella, Felicia Ascione. Lead Perit/i: Maurizio Ascione. Architecture Design Perit/i: Piotr Zabek, Wafik Nasri. Photography: Matthew Farrugia.

lementi transforms a traditional townhouse in Mosta into a carefully curated destination that brings together beauty, wellness, nutrition and hospitality under one roof. Created for the founders of Beauty Team, the project reimagines a compact 297square-metre urban property as a sequence of interconnected experiences, with wellness and salon spaces on the ground floor, guest suites above, and hospitality areas occupying the upper levels. The design is guided by the four classical elements, Nar (Fire), Ilma (Water), Arja (Air) and Art (Earth), each inspiring a distinct guest environment expressed through colour, stone, texture and light. Individual rooms revolve around carefully selected marble finishes, complemented by bespoke plaster treatments that evoke the character of each element. At the heart of the building lies a reconfigured courtyard, transformed into a circular gathering space beneath a large skylight. Inspired by the geometry of the existing well and arches, it brings daylight deep into the interior while providing a clear point of orientation throughout the property. A restrained palette and carefully layered materials create a sense of warmth and intimacy, while natural light, craftsmanship and spatial flow unite the various functions into a cohesive hospitality experience centred on wellbeing, retreat and renewal.

Sculpting possibilities Crafted in stone URNA

PREMJU GALIZIA 2026 SPECIAL CATEGORY UNBUILT PROJECTS URNA, MALTA. UNBUILT PROJECTS AWARD WINNER. COMMISSIONER: MALTA ARTS COUNCIL. LEAD PERIT/I: ANTHONY BONNICI.

he Unbuilt Projects Award winner, URNA, addresses one of Malta’s emerging cultural and spatial questions: how a society commemorates its dead in an era shaped by cremation and limited land availability. The proposal imagines a repository where urns accumulate over time, forming a stratified structure inspired by the geological and archaeological layers of the Maltese landscape. Situated within a quarry, the project transforms an extracted void into a place of gathering, remembrance and reflection, connecting body, stone and territory through a continuous cycle of return. MADE TO GROW, SUB-URBANS. UNBUILT PROJECTS AWARD FINALIST. LEAD PERIT/I: MATTERMAKE. ARCHITECTURE DESIGN PERIT/I: MATTERMAKE.

mong the finalists, Made to Grow by Mattermake reconsiders earlyyears education through a flexible school model conceived as a village rather than a single building. Designed for semi-rural communities, the proposal uses a hexagonal modular system that creates courtyards, sheltered outdoor spaces and adaptable classrooms. Built from repeatable timber components, it offers an approach that can evolve with changing educational practices while strengthening the connection between learning, landscape and climate. THE LIVING SPINE, BIRKIRKARA. UNBUILT PROJECTS AWARD FINALIST. LEAD PERIT/I: DR. EDWIN MINTOFF – EM ARCHITECTS. ARCHITECTURE DESIGN PERIT/I: ARCHITECT PIOTR ARMATYS – EM ARCHITECTS. STRUCTURAL ENGINEER: PERIT LESLEY ANN MINTOFF – EM ARCHITECTS.

Top: URNA, Unbuilt Projects Award Winner. Photo © London Design Biennale. Above: Made to Grow, Sub-urbans, Unbuilt Projects Award Finalist. Made To Grow – Birds eye view, image Mattermake. Below: The Living Spine, Birkirkara, Unbuilt Projects Award Finalist. The Living Spine Linear Park, image EM Architects.

he Living Spine by EM Architects turns a neglected stormwater canal in Birkirkara into a new piece of civic infrastructure. Beneath a landscaped public route, retention cisterns capture and store rainwater for irrigation, addressing flood management while supporting extensive planting. Above, pedestrian pathways, community spaces and shaded gathering areas reconnect fragmented neighbourhoods, demonstrating how engineering, landscape and urban life can be brought together within a single architectural vision.

FINANCIAL SECURITY & PENSION PLANNING

The Long View “You do not rise to the level of your goals. You fall to the level of your systems.” JAMES CLEAR, ATOMIC HABITS. Financial wellbeing is built through the routines that support our intentions. The most effective plan is often the one that makes sensible decisions easier to repeat, built on solid and steady, automated habits that protect your future. Cisternino, Apulia, renowned for its whitewashed historic centre, trulli houses, and scenic views of the Valle d’Itria. Photo José Jóvena.

FINANCIAL SECURITY & PENSION PLANNING

“It is easy to get bogged down trying to find the optimal plan for change: the fastest way to lose weight, the best program to build muscle, the perfect idea for a side hustle. We are so focused on figuring out the best approach that we never get around to taking action. As Voltaire once wrote, ‘The best is the enemy of the good.’” JAMES CLEAR, ATOMIC HABITS

THE LONG VIEW – PLANNING FOR LIFE, MONEY AND TIME

A MONTHLY SERIES EXPLORING THE DECISIONS, HABITS AND PERSPECTIVES THAT SHAPE LONG-TERM FINANCIAL WELLBEING.

Tax Efficiency and Smart Structuring. Making More of What You Have How the unglamorous world of tax credits, the pension habits we delay and the systems we swear we’ll “sort out next month” can turn into a surprisingly powerful ally – especially when those small efficiencies compound year after year behind the scenes, showing that long-term planning often starts with the very things we’d rather not think about. Photography José Jóvena and Vincenzo De Simone. Location Apulia.

axes aren’t exactly the most thrilling topic in a conversation about money. Many people might refer to them as dull or boring, or to be slightly more old school, “boring snoring”. We spend much of our lives grumbling about them, reading about them, and usually trying to ignore them. Yet, very much like that dreaded relative who must be invited to Christmas, they inevitably make an appearance at least once a year – not in a tweed suit smelling of mothballs or armed with endless stories you’d rather avoid – but as forms, deadlines, and percentages that often only catch our attention when it’s time to file a return or after a financial decision has already been made. Still, over a lifetime, the way tax-incentives, savings, pensions, investments, and other assets are managed can greatly affect how much of one’s money remains available for the future. Being tax-efficient isn’t about finding clever loopholes, it’s about knowing the rules and making smart choices within them. This is one reason why financial planning benefits from looking beyond just the current year. Decisions made now can have an impact for decades. How much you put into a pension, where you keep your savings, how you structure investments, and when you take income can all be part of a bigger plan. The key question isn’t just what something costs today, but what effect it might have over the long run.

In Malta, pensions are a great example of how taxes can influence long-term planning. The State Pension is the main pillar of retirement income, with occupational and personal pensions adding extra support. Personal pensions are optional and offered through MFSAlicensed providers, with contributions invested for the long term. There is also a tax incentive for those who choose to build additional retirement savings: qualifying contributions to a personal retirement scheme can attract a tax credit equivalent to 25% of the amount contributed, up to a maximum of €750 a year. In practical terms, a contribution of €2,000 could result in a tax credit of €500, subject to the applicable rules. A tax break might seem small in a single year, but combined with steady contributions and years of growth, it becomes part of the bigger picture of building retirement savings efficiently. Tax shouldn’t be the only reason to pick a pension plan, but knowing the available incentives helps ensure your money for later life works as hard as possible. The tax treatment of pension income has also evolved. From basis year 2026, pension income received after the age of 61 is fully exempt from tax up to €37,104, subject to the applicable rules. According to the MTCA.gov.mt website, “this means that the total of any social security pension, service pension, foreign pension, occupational pension and private pension is exempt up to this amount.” These updates highlight the importance of understanding the rules for both contributions and withdrawals, not just focusing on how much is being saved.

FINANCIAL SECURITY & PENSION PLANNING

“PRICE IS WHAT YOU PAY; VALUE IS WHAT YOU GET.” WARREN BUFFETT Committing to a long-term financial strategy ensures your resources are preserved for what truly matters later: time, travel, and absolute peace of mind. Polignano a Mare, Apulia (Puglia), about 35 km south of Bari, perched on limestone cliffs overlooking the Adriatic Sea. Photo: Vincenzo De Simone.

here’s a big difference between saving more and saving smarter. Saving more might mean earning a higher income or making bigger sacrifices, while saving smarter is about making the most of the resources you already have. Things like tax allowances, incentives, and exemptions can play a role, and the way an investment or pension is structured can affect how your money grows over time. The tricky part is that financial decisions are often made separately. A pension contribution might be seen apart from an investment portfolio,

savings account, or property, but they’re all part of the same financial picture. Looking at them together can uncover ways to better balance liquidity, growth, income, and longterm security. Warren Buffett sums up value well: “Price is what you pay; value is what you get.” While originally about investing, this idea applies broadly. A financial product isn’t just about its upfront cost or apparent benefit, things like fees, taxes, flexibility, investment strategy, and how well it fits your goals all shape its long-term value. There’s also a human side to it. Morgan Housel, in The Psychology of Money, points out that success with money

depends less on intelligence and more on behavior. Tax planning often falls into this trap. People know it’s important but delay action because the payoff seems far off or the topic feels complex. Over time, that procrastination can end up costing more than expected. James Clear’s idea from his book Atomic Habits – “You do not rise to the level of your goals. You fall to the level of your systems.” fits perfectly with financial planning. Big goals like a comfortable retirement are great, but it’s the systems that make them happen: steady contributions, automatic savings, regular check-ins, and sensible organization. The beauty of these habits is their simplicity. Automating a monthly deposit, reviewing pensions once a year, checking fees, or keeping savings in the right place can all be part of an easy routine. Over time, these small steps can add up to more than one grand resolution. Tax efficiency also depends on timing. When and how income or investments are handled can change the tax outcome, especially during major life events like job changes, retirement, buying property, inheritance, or shifting investment strategy. This is where professional advice can really help, especially when multiple assets or tax rules are involved. While it’s tempting to focus solely on tax, that can throw a plan off course. Tax perks only work when they’re part of a solid overall strategy. Liquidity matters. Risk matters. Fees matter. So do personal circumstances and the purpose behind the savings. The real win comes from seeing tax as just one piece of the puzzle. Money saved or invested wisely stays available for what really matters later. More freedom in work, a comfortable retirement, travel, supporting family, or simply being ready when life changes. James Clear writes that “Every action you take is a vote for the type of person you wish to become”, and this is a great way to think about money habits too. The way we handle our finances reflects our priorities, and every contribution, review, or intentional choice is like casting a small vote for the future being built. Good financial organisation doesn’t usually create overnight transformations, it adds up over time, which is exactly why it’s worth committing to a long-term plan. The goal isn’t perfect decisions every time, but building a framework that makes smart choices easier to repeat. Small efficiencies, repeated year after year, can make a big impact later. SUGGESTED READING: The Psychology of Money: Timeless Lessons on Wealth, Greed, and Happiness by Morgan Housel; The Intelligent Investor by Benjamin Graham; The Warren Buffett Way by Robert G. Hagstrom; and Atomic Habits by James Clear.

Growth Portfolio Fund

CONFIDENCE THAT EVOLVES WITH YOU LEVEL UP YOUR FUTURE WITH THE BOV GROWTH PORTFOLIO FUND Contact us | infoassetmanagement@bov.com Past performance is not a guarantee to future performance. The value of the investment can go down as well as up and any initial charges may lower the amount invested and the amount received upon redemptions. Investments should be based on the full details of the Prospectus, Offering Supplement and the Key Information Document which may be obtained from BOV Asset Management Limited, Bank of Valletta p.l.c. Branches/ Investment Centres. The investments underlying this financial product do not take into account the EU criteria for environmentally sustainable economic activities. BOV Asset Management Limited of Premium Banking, Premium Banking Centre, 475, Triq ilKbira San Ġużepp, Santa Venera SVR1011 is licensed to conduct investment services in Malta under the Investment Services Act (Cap.370 of the laws of Malta) by the MFSA. BOV Investment Funds are common contractual funds licensed by the MFSA and qualify as UCITS. The Funds are manufactured by BOV Asset Management Limited and distributed by Bank of Valletta p.l.c. Issued by Bank of Valletta p.l.c., 58, Triq San Żakkarija, Il-Belt Valletta VLT1130. Bank of Valletta p.l.c. is a public limited company regulated by the MFSA and is licensed to carry out the business of investment services in terms of the Investment Services Act (Cap. 370 of the Laws of Malta).

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HEALTH & WELLBEING AGEING WITH DIGNITY

WHY MENTAL HEALTH, INDEPENDENCE AND RESPECT MATTER Ageing is something that we will all experience, yet it is often something we give little thought to until it begins to affect us or someone close to us. When we speak about growing older, conversations frequently revolve around physical health, medical conditions and the challenges that may accompany advancing age. However, I have always believed that ageing is about much more than physical health. It is equally about psychological wellbeing, maintaining independence, feeling valued and continuing to find meaning in everyday life, writes Dr Yaser Teebi, Clinical Psychologist, Clinical Supervisor, Gerontologist and Director for Community Services, Active Ageing and Community Care.

“As we commemorate the International Day of Older Persons and World Mental Health Day, I believe this connection deserves particular attention. Promoting mental health among older persons is not simply about identifying and treating depression, anxiety or other psychological difficulties. It is also about preventing loneliness, encouraging social connections, supporting independence and ensuring that older persons continue to feel included and valued,” says Dr Yaser Teebi. Photo Logan Weaver. 68

ACTIVE AGEING & MENTAL HEALTH

hroughout my professional career as a clinical psychologist and gerontologist, I have had the privilege of working closely with older persons across different healthcare settings. These experiences have shaped not only my clinical understanding of ageing but also my personal appreciation of what truly matters as we grow older. If I had to identify three principles that should underpin how we approach older persons, they would undoubtedly be a) dignity, b) autonomy and c) respect. Dignity means recognising that every older person has a lifetime of experiences, achievements, relationships and contributions that deserve acknowledgement. Autonomy means supporting individuals to retain control over their lives and decisions for as long as possible, even when they may require additional assistance. Respect means listening, understanding and recognising that growing older should never diminish someone’s voice or place within society. These principles may sound straightforward, but translating them into everyday practice requires continuous effort. During my years working clinically with older persons, I have encountered individuals facing significant life transitions, including retirement, bereavement, declining physical abilities and changes in their independence. While these experiences can undoubtedly affect mental health, I have also witnessed remarkable resilience, adaptability and determination. One lesson that has remained with me is that older persons do not necessarily want others to do everything for them. Very often, they simply want to retain the opportunity to do things for themselves. This is where our understanding of active ageing becomes particularly important. Active ageing should not be interpreted solely as encouraging older persons to remain physically active or participate in organised activities. It is about creating opportunities for continued engagement, meaningful relationships, psychological wellbeing and participation in society. Importantly, it is also about recognising that active ageing looks different for everyone. For some, it may mean participating in educational programmes or social activities, while for others, it may simply mean maintaining the independence to visit friends, attend appointments or continue enjoying familiar routines. Today, in my role as Director for Community Services within Active Ageing and Community Care, I have the opportunity to approach these principles from another perspective: that of service development and policymaking. Although my day-to-day responsibilities are no longer primarily centred on direct clinical interventions, the values that guided my clinical practice remain central to my work. In fact, I increasingly recognise how closely clinical practice and policymaking are connected. As clinicians, we often work with individuals to address psychological difficulties, strengthen coping mechanisms and improve their quality of life. Through

policymaking and community service development, we have the opportunity to influence the environments, opportunities and support systems that shape the wellbeing of entire communities. Neither approach should be considered more important than the other. Clinical interventions support individuals, while effective policies create the conditions in which individuals can thrive. Both are essential if we genuinely want to promote quality of life in later years. This philosophy is reflected in several initiatives that we have been working on within Active Ageing and Community Care. For instance, the expansion of the Silver T community transport service is about much more than providing transportation. From a psychological perspective, the ability to travel independently, maintain social connections and continue participating in community life can have a profound impact on an older person’s sense of autonomy, confidence and emotional wellbeing. Something as seemingly straightforward as having access to reliable transport can make the difference between remaining socially connected and gradually becoming isolated. Similarly, our Virtual Reality Active Ageing and Reminiscence Programme demonstrates how innovative approaches can support psychological wellbeing in later life. By creating opportunities for older persons to engage in virtual experiences, revisit familiar places and share memories, we are encouraging communication, social interaction and meaningful connections. Having worked clinically with older persons, including individuals experiencing cognitive difficulties, I particularly appreciate the value of reminiscence and the emotional significance that familiar experiences and memories can hold. Another important area is the continued development and expansion of opportunities for lifelong learning through the University of the Third Age (U3A). Learning should never be considered something that ends with retirement. Beyond acquiring new knowledge, educational opportunities can promote cognitive stimulation, social engagement, confidence and a renewed sense of purpose. They also challenge the misconception that older persons are somehow less capable of learning, developing or contributing to society. While these initiatives may appear different in their objectives, they share a common underlying philosophy: supporting older persons to remain engaged, independent and connected to their communities. For me, this is where clinical understanding and policymaking truly come together. Having spent years listening to older persons describe their experiences, frustrations, concerns and aspirations, I now see and understand how services and policies respond to some of those very needs. It is a responsibility that I value and contribute to greatly, particularly because I have witnessed firsthand how seemingly small changes in an individual’s circumstances can significantly influence their psychological wellbeing. As we commemorate the International Day of Older Persons and World Mental Health

Day, I believe this connection deserves particular attention. Promoting mental health among older persons is not simply about identifying and treating depression, anxiety or other psychological difficulties. It is also about preventing loneliness, encouraging social connections, supporting independence and ensuring that older persons continue to feel included and valued. We must also recognise that psychological wellbeing is not determined exclusively by the absence of mental illness. An older person may have no diagnosed psychological condition yet still experience loneliness, a loss of purpose or feelings of diminished independence. Equally, an individual living with physical limitations or cognitive difficulties may continue to experience fulfilment, meaningful relationships and a good quality of life when provided with the appropriate support and opportunities. This is why our approach to active ageing must remain holistic, personcentred and sensitive to individual circumstances. Ultimately, the success of our efforts should not be measured solely by how many services we provide or how many individuals access them, but also by the meaningful difference these services make in people’s everyday lives. Numbers and service outputs are undoubtedly important, particularly when planning and evaluating public services. However, they should never overshadow the human experiences behind those numbers. A successful community service is not simply one that reaches more people. It is one that helps people feel more independent, more connected, more confident and, ultimately, more satisfied with their lives. Growing older should never mean becoming less important, less visible or less deserving of opportunities. Nor should ageing automatically be associated with dependency, decline or an inevitable deterioration in psychological wellbeing. If we truly want to build a society that embraces active ageing, we must ensure that dignity, autonomy and respect are not merely principles we speak about, but values reflected in our clinical practice, community services and public policies. Having worked on both sides of this spectrum, from supporting older persons individually in clinical settings to contributing towards policies and services at a national level, I remain convinced that both approaches are equally important and mutually reinforcing. After all, adding years to life is important, but adding life to those years is what truly matters. Dr Yaser Teebi MHFA, B.Psy (Hons)(Melit), GMBPsS, MPsSI, M.Ger (Melit), M.Psy (Clin)(Melit), PhD (Psych)(Bham), CPsychol, AFBPsS Clinical Psychologist, Clinical Supervisor, Gerontologist and Director for Community Services, Active Ageing and Community Care.

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ACTIVE AGEING & MENTAL HEALTH THE LONGEVITY QUESTION

A LIFE IN MOTION. RETHINKING THE WAY WE AGE WE ARE LIVING LONGER THAN ANY GENERATION BEFORE US. THE QUESTION IS NO LONGER SIMPLY HOW LONG WE LIVE, BUT HOW WELL. This October, with conversations about longevity and mental wellbeing highlighted by the International Day of Older Persons and World Mental Health Day, attention is increasingly turning to the habits that help us remain engaged, independent and connected throughout life. Among them is one of the simplest, and perhaps most overlooked: movement. A growing body of research suggests that strength training can support both physical and mental wellbeing, helping people remain active, resilient and curious about the years ahead. Photography this page Susanna Marsiglia.

HEALTH & WELLBEING

THE LINK BETWEEN STRENGTH TRAINING AND BRAIN HEALTH IS NEW, BUT PLAUSIBLE. Resistance training appears to drive beneficial changes in the brain. The same improvements in blood sugar and blood vessels that protect the heart are also tied to a lower risk of dementia. Photo Juls P.

NEW STUDY

PEOPLE WHO LIFT WEIGHTS LIVE LONGER STRENGTH TRAINING HAS LONG BEEN SEEN AS SOMETHING YOU MAINLY DO TO BUILD MUSCLE OR LOOK GOOD. BUT A NEW STUDY ADDS TO A GROWING BODY OF EVIDENCE THAT SHOWS LIFTING WEIGHTS DOES FAR MORE THAN CHANGE HOW WE LOOK. It may help us live longer – even if you don’t spend hours each day in the gym, writes Jack McNamara, Senior Lecturer in Clinical Exercise Physiology, University of East London.

he study drew on three long-running US studies that followed nearly 150,000 nurses and other health professionals for up to 30 years. Every couple of years, participants reported how much time they spent on strength training and aerobic exercise such as walking, cycling and swimming. Over the three decades almost 36,000 of them died, which let the researchers track how muscle-strengthening activity related to the risk of dying early. They found a clear sweet spot. People who did around 90 to 120 minutes of strength training a week – or roughly an hour and a half to two hours – had about a 13% lower risk of dying from any cause than those who did none. The benefit of strength was strongest for two of our biggest killers: a 19% lower risk of dying from cardiovascular disease (which includes heart disease and stroke) and a 27% lower risk of dying from neurological conditions, mainly dementia. Interestingly, more wasn’t necessarily better. Beyond about two hours of weightlifting a week, risk didn’t fall any further. The lowest risk of all was seen in people who paired strength training with regular aerobic exercise – measured across everyday activities such as walking, jogging, cycling and swimming. Doing at least the recommended amount of moderate aerobic activity (around 150 minutes a week) was on its own linked to between a 26% and 43% lower risk of death. But combining plenty of aerobic activity with one to two hours of strength training brought the risk down furthest of all – by around 45%. Aerobic exercise still did most of the heavy lifting, but the two clearly work best together, not as rivals. There was one exception to the pattern: for cancer deaths, only smaller amounts of strength training (under an hour a week) were linked to lower risk.

HEALTH & WELLBEING

SO WHY WOULD WEIGHTLIFTING HELP US LIVE LONGER? The answer lies in muscle – and what muscle actually does, beyond simply helping us move around. Muscle, specifically the skeletal muscle we build through resistance training, is one of the body’s most metabolically active tissues. After a meal, it’s where most of the sugar, or glucose, in our blood is sent. Insulin, the hormone released when we eat, signals muscle to absorb glucose from the bloodstream. Keeping muscle strong and plentiful helps the body manage blood sugar and protects against type 2 diabetes, itself a major driver of heart disease and early death. Photo Samuel Girven.

MUSCLE AND MORTALITY

o why would weightlifting help us live longer? The answer lies in muscle – and what muscle actually does, beyond simply helping us move around. Muscle, specifically the skeletal muscle we build through resistance training, is one of the body’s most metabolically active tissues. After a meal, it’s where most of the sugar, or glucose, in our blood is sent. Insulin, the hormone released when we eat, signals muscle to absorb glucose from the bloodstream, and it mops up around 80% of it – either burning it for energy or storing it as glycogen, a ready fuel reserve, rather than letting it circulate or be stored as fat.

Keeping muscle strong and plentiful therefore helps the body manage blood sugar and protects against type 2 diabetes, itself a major driver of heart disease and early death. Muscle is also an organ in its own right. When muscles contract, they release hormone-like messengers called myokines into the bloodstream. These help to dampen the chronic, low-grade inflammation that quietly underlies heart disease, diabetes and many cancers. Myokines also allow muscle to communicate with the liver, fat tissue, blood vessels, bone and even the brain. They send out signals that influence how those organs burn fuel, control blood flow and stay healthy. In effect, every time we use our muscles, they release a burst of chemical signals that benefit the rest of the body.

The heart and circulatory system benefit too. Over time, regular resistance training can help lower blood pressure and keep arteries flexible rather than stiff, which protects against cardiovascular disease. Strength itself is also a remarkably good barometer of health. Grip strength – how hard you can squeeze with your hand – is widely used as an indicator of whole-body strength. In one large international study, grip strength predicted the risk of dying early even more accurately than blood pressure. Stronger muscles also mean fewer falls and fractures, more independence in later life and less frailty as we age – all of which shape how long, and how well, we live. The link between strength training and brain health is newer and less certain, but plausible. Resistance training appears to drive beneficial changes in the brain. The same improvements in blood sugar and blood vessels that protect the heart are also tied to a lower risk of dementia. That may help explain the 27% drop in deaths from neurological disease the study found. It’s worth being clear about what this study can and can’t tell us. It was observational, so although it can show a strong link between strength training and a longer life, it can’t prove that one directly causes the other. People who lift weights may be healthier in other ways, though the researchers adjusted for many such factors, including diet, smoking and aerobic activity. Strength training was also self-reported, and the study couldn’t capture how hard people trained. The encouraging message is that the amount linked to a longer life is genuinely achievable. You don’t need a gym membership or a heavy barbell, either. Two short sessions a week where you work all the major muscle groups, alongside some aerobic exercise each day, appears to be plenty when it comes to improving your overall health and longevity. This article first appeared on The Conversation.

GASTRONOMY

AIX‑EN‑PROVENCE

Cézanne’s Provence MARKET DAYS, SUNLIGHT AND Southern French Gastronomy. THE ART OF “Bon appétit!” Aix-en-Provence invites visitors to slow down and savour pleasures that have shaped the city for centuries: vibrant markets, seasonal cooking and landscapes immortalised by Paul Cézanne's iconic paintings. Between market mornings, honey-coloured streets and the scents of Provençal cooking wafting through the air, the city inspires the senses and encourages the art of observation. This page: In the fifteenth century, Good King René welcomed artists and poets to his court at Aix, and later the Parliament of Provence turned the town into a thriving administrative capital. Grand buildings, with their sculpted portals and Baroque façades, still stand as reminders of that era. Photo “Aix-en-Provence” by Paul Wilkinson, CC BY 2.0.

GASTRONOMY

“A

silence fell at the mention of Gavard. They all looked at each other cautiously. As they were all rather short of breath by this time, it was the camembert they could smell. This cheese, with its gamy odour, had overpowered the milder smells of the marolles and the limbourg; its power was remarkable. Every now and then, however, a slight whiff, a flute-like note, came from the parmesan, while the bries came into play with their soft, musty smell, the gentle sound, so to speak, of a damp tambourine. The livarot launched into an overwhelming reprise, and the géromé kept up the symphony with a sustained high note.” – Émile Zola.

Above: Sainte-Victoire Mountain, located just east of Aix-en-Provence, is world-renowned, thanks in large part to the 87 paintings by artist Paul Cézanne. Photo La Coccinelle. Top right: A variety of premium olive oils displayed at a Provençal market stall, with glass bottles and classic metal canisters showcasing the vibrant olive oil tradition of Provence. Photo Margit Knobloch. Below left and middle: Baskets brimming with savoury meats, nuts, and sweet dried fruits at an open-air market in Aix-en-Provence. Photography Terry Granger. Below right: At the weekly market in Aix-en-Provence, a cheese stall features regional specialities like goat cheese, Comté, and Beaufort. Photo Margit Knobloch.

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This page and opposite: Place Richelme hosts a daily food market that’s been running for centuries, and it remains one of the most charming in Provence. Stalls overflow with seasonal vegetables, goat’s cheese from the Luberon, olive oil from the Alpilles, lavender honey, sunflowers and fruit that carries the scent of the fields around the city. On Tuesdays, Thursdays and Saturdays, the markets expand into surrounding streets and down Cours Mirabeau. Photography “Aix-en-Provence” by Chuca Cimas, CC BY-ND 2.0.

mile Zola understood the theatre of food long before gastronomy with a big “G” became a lifestyle and a buzzword, and something to be shared on Instagram posts. Growing up in Aix-enProvence nurtured that instinct. The city’s bustling markets, fresh produce, fragrant air, and lively characters were the backdrop to

his early years, and they also shaped his friend Paul Cézanne. Their world was filled with colour, scent, and sun-lit abundance, where food and art were part of everyday life, not elevated to something distant or ceremonial. Aix still carries that atmosphere today, and wandering its markets offers a taste of the same sensory richness that once inspired them both.

GASTRONOMY

he city’s story started long before the days of Zola and Cézanne. In 123 BC, Roman consul Gaius Sextius Calvinus established Aquae Sextiae beside natural hot springs bubbling from the earth. Those waters sustained the settlement through invasions and upheavals, and they still rise today in the fountain halfway down Cours Mirabeau. Over centuries, Aix grew into a centre of learning, commerce and culture. In the fifteenth century, Good King

René welcomed artists and poets to his court, and later the Parliament of Provence turned the town into a thriving administrative capital. The grand mansions of the Quartier Mazarin, with their sculpted portals and Baroque façades, still stand as reminders of that era. With its rich history, Aix has always been characterized by its human scale - it's a city of squares, fountains, cafés, and markets where daily life unfolds outdoors. Cézanne was born here in 1839, and although he spent years in Paris, he returned again and again to the landscapes of his childhood. Mont

Sainte-Victoire became his lifelong subject, painted repeatedly from the same vantage points in an attempt to understand its structure and light. His studio north of the centre remains almost untouched, with the coats, hats and simple objects that appeared in his still lifes arranged as he left them. The Bibémus Quarries, with their ochre stone and angular forms, reveal the geometry that shaped his later work. Walking through Aix today, bronze studs marked with a “C” guide visitors past the places connected to his life, creating a link between the city’s artistic heritage and its present. 81

GASTRONOMY

his sense of continuity comes alive in the markets. Place Richelme hosts a daily food market that’s been running for centuries, and it remains one of the most charming in Provence. Stalls overflow with seasonal vegetables, goat’s cheese from the Luberon, olive oil from the Alpilles, lavender honey, sunflowers and fruit that carries the scent of the fields around the city. On Tuesdays, Thursdays and Saturdays, the markets expand into surrounding streets and down Cours

Mirabeau. Le Grand Marché brings textiles, linens, pottery and vintage wares, while Place des Prêcheurs fills with prepared foods, spices, olives, truffle products and wines from small producers. It is a world of colour and abundance, influenced by the Mediterranean climate and the culinary traditions of Provence. The cusine of Aix is a reflection of the landscape that surrounds it. Olive groves, citrus trees, lavender fields and rosemary bushes form the agricultural patchwork of the region, and their flavours appear everywhere. Tomatoes, aubergines and courgettes thrive

in the heat and are often grilled with olive oil or baked as petits farcis. Soupe au pistou brings together end-of-summer vegetables with a swirl of basil, garlic and olive oil. Daube Provençale offers a deeper note, slowbraised in red wine with carrots, olives and orange peel. Le Grand Aïoli, a Friday tradition, presents steamed vegetables and salt cod with a generous bowl of garlic-rich sauce. At apéro hour, tapenade, anchoïade and panisse appear on tables across Aix, accompanied by pale rosé from the limestone slopes near Mont Sainte-Victoire or a glass of pastis diluted with cold water. Above: Sunlit stone details, elegant curves, and intricate ironwork reflect the rich architectural heritage of this Provençal city. Photo Margit Knobloch. Far left: Artichokes at Place Richelme. Provence's markets remain shaped by the seasons, where vegetables, herbs and fruit arrive fresh from the surrounding countryside each morning. Tomatoes, aubergines and courgettes thrive in the heat and are often grilled with olive oil or baked as petits farcis. Left: Under the Provençal sun, the market stalls of Aix‑en‑Provence present the same colours and textures that captivated Cézanne throughout his life. Photography “Aix-en-Provence” by Milena mica2605, CC BY 2.0.

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GASTRONOMY

Above: Between market mornings, honey-coloured streets and the scents of Provençal cooking wafting through the air, the city inspires the senses and encourages the art of observation. Photo “Aix-en-Provence” by Milena mica2605, CC BY 2.0. Below: The Pavillon de Vendôme. Built in the seventeenth century amid formal gardens and fountains, this elegant residence reflects the refined architectural character that has shaped Aix-en-Provence for centuries. Photo “Pavillon Vendôme” by Pernmith, CC BY 2.0.

ix has its sweet side too. Calissons, made from candied melon and ground almonds, are sold in every confectioner’s shop, their smooth diamond shapes topped with white icing. Navettes flavoured with orange blossom water and madeleines infused with honey or lemon zest offer gentler pleasures, often enjoyed with an afternoon espresso in one of the city’s shaded squares. When you wander Aix’s markets you can begin to understand why Zola wrote about scent and why Cézanne returned to the same landscapes throughout his life. The city’s history, art and food share the same common roots: sunlight, produce, and colour. And the simple act, pleasure and stimulation of paying attention. Aix encourages a slower pace, to choose fruit carefully, to notice the fragrance of herbs, and to enjoy the small things that shape daily life in Provence. After all, what's the rush? Here, gastronomy is part of the city’s fabric, and the pleasures of the market still reflect the world that inspired two of France’s most celebrated artists. In the words of Julia Child, “Bon appétit!”

THIS IS WINE

Ducru-Beaucaillou 2019 “All battles are first won or lost in the mind.” St Joan of Arc Without throwing shade on other top tier St Julien wines, while the three Leovilles are lauded as the quintessential appellation fare. Their proximity to Pauillac and stylistic variation on each other somehow draws them apart from the typical wine of the region. Ducru-Beaucaillou on the other hand geographically more at the heart of the appellation offers its own unique rendition. Together with Leoville Lascases as the most dominant users of Cabernet Sauvignon tempered with Merlot, where Lascases also adds Cabernet Franc, essentially means that power comes part and parcel with the style of wine here, even if the pithy lyrical elegant interior of fine dust tannins projects all the subtle harmony we have come to expect from this well-loved AOC, writes Kris @ FirstThisIsWine.

otably absent from the Michelin grape rating, this should not scare you from what is in fact a highly consistent head of the pack winemaker, deservedly emblazoned as a second growth in the Napoleonic classification of 1855. Critics of course richly grade this wine according to its aging potential at slight variance to more sober popular scores having a practical preference to its drinkability at the moment. Personally I went for the slow ox open and wait method to allow enough of the aromatics to translate into actual flavour and fill. This is certainly one for cellaring but 2019 is solar enough to enjoy on the primary side. Ducru-Beaucaillou 2019 is violets, inky berries and cherries on the nose and attack, filled in by a fine-grained mid palate tout St Julien of cassis, tar, leather, smoke, cedar, leaves and baked spice, to end in a soothing gravel flecked gunpowder touch game dark chocolate dense finish. This is potent, coiled and graceful in equal measure with lots of muscle and candour to enjoy now as much as later. One of the most complex left banks I have had of this acclaimed vintage, at a luxurious 100 percent new oak the winemaker has judiciously created an oeuvre of exquisite tension, plush nuance and gilded signature classicism.

THIS IS WINE

Bichot Richebourg 2001 “Abandon all hope, you who enter here.” Dante Of the 33 Grand Crus Richebourg is amongst the most powerful. The rich village as per the Cistercians has an opulent power that needs time to palatably keel over, even if a regal restraint is within the exacting coordinates that define this Vosne star. Neighbouring the apex vineyards Romanee Conti and Le Romanee to the south, and elegant Romanee St Vivant to the east; the cru has two lieu-dits: the mid slope Les Richebourgs and the upper slope Les Verroilles, writes Kris @ FirstThisIsWine.

leven owners have the honour of making wine here with DRC being the largest, blending from the solar mid slopes, as does Leroy; where the Gros' and Meo Camuzet oscillate around the cooler shallower upper slopes. Bichot’s Clos Frantin, the jewel in this Maison’s crown, is unique in having the smallest parcel with a mere two barrelled 300 bottles at the northwestern edge of the AOC. Since there is no room for blending, this is the only Richebourg that is purely from the upper slope climat making precision the focal point. Richebourg wines are unique to each producer’s style, yet broadly the grand cru is characterized by a deep colour, full bodied sumptuous richness on a textural and flavour front with a smoky lengthy minerality to counterbalance the heft and depth of weight. One of the few places where the term heavy is a plus since it is matched by a crystalline purity without a rustic bone in sight. The cru sports a muscular style with an intensity and vibrancy resonating up and down the slopes from the plateau breeze where Les Verroilles has the racy edge in hot vintages. Bichot Richebourg 2001 is Black Forest chocolate cake coated wild cherries on the nose and attack. The mid palate a racy slew of dark berries tinged in smoky minerals, leather, flowers lyrically strung to an animal musk earthy limestone finish. Pure, precise, dartingly linear, high strung yet mellowed by Vosne spices, brooding and rarefied with a signature house cocoa nib barrelled opulence. 2001 was a roller coaster of a vintage, but thickskinned berries after 25 years are now ready. Junonic and seductive with a high cheeked chiselling; not fully dimensional but a sporting beauty. 87

THIS IS WINE

Troplong Mondot 2014 “Have no fear of perfection, you will never reach it.” Marie Curie St Emilion plateau wines can easily be mistaken for having a similar terroir of limestone and clay but overlying the mosaic of soils is also a second equally important consideration of complexity by way of myriad winemaking philosophies. From a modern high extraction, heavy oak ripe fruit school of thought (Pavie Macquin/Mondotte); to a middle school Cabernet Franc driven gravel inflected savory leaning (Beausejour Duffau); to more iconoclastic styles aimed towards texturally lush Burgundian lightly infused intensity, precision and high toned flex; which themselves can be split into the limestone purists (Beau-Sejou Becot/Canon) and the wilder artisans (Tertre Roteboeuf); to name but a few, writes Kris @ FirstThisIsWine.

istorically chateaux have gone through their own stylistic evolution in some part leaning one way or another over the years and this is clearly seen in Troplong Mondot. While the maison has come leaps and bounds often quoted critic score wise as within the top ten of the region; stylistically pre-2017, wines under the Michel Rolland aegis have gone for late picking, intense extraction, heavy oak, viscous wines; where of late under new owners, consultants have turned to early harvest lightly infused less oak tighter linear fare. Troplong Mondot 2014 is dark petals and berries on the nose. Rich cassis, plums and berries on the attack with a full-bodied mid palate of dense flavoured richness held in sway by a depth of purity and clean part saline part mineral streak to end in a flamboyant dark chocolate, baked spice and espresso finish. 2014 is by all accounts a cold and wet the summer that was not vintage with classical leanings, yet an end of harvest sunny reprieve gave longer hanging times to grapes already in full phenolic ripeness, for those who waited. In some ways this St Emilion wine is unique for that year in marrying the opulent ripeness, tannic strength and heat of a prolonged harvest with a left bank freshness, chiselled purity and linear hold more in keeping of the cool vintage.

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Castillo Ygay 2009 “Read in order to live.” Gustave Flaubert Castillo Ygay needs no introduction as the wonder child of critics and drinkers alike so I am happy to bask in its ground breaking glory. In 1852 Luciano a Peru-born émigré to Spain after studying in Bordeaux adopts French winemaking practices with small oak slow barrication blends by taming a wild regional grape to give birth to the modern age-worthy fine Rioja, a far cry to the rustic table fare of prior. Upon pioneering exports to the New World with great success, the king of Spain bestowed him the title Marques de Murrieta and so began a legend, writes Kris @ FirstThisIsWine.

a Rioja lying between the Cantabria and Demanda Sierra mountain ranges has a goldilocks microclimate shielded from the Atlantic wet freeze and the Mediterranean dry scorch. The most noteworthy sub region, Rioja Alta, has an altitude and cool weather to furnish a freshness primed for full phenolic complexity. This foundational house takes the middle ground in being both classical and modern in philosophy in contrast to the ultra-traditional heavy American oak usage or the more avant-garde French toast inclination schools of thought. Their iconic style is accentuated by a rich use of the hard to grow Mazuelo/Carignan grape adding a tight tannined razor edge acid spine, bestowing years of youthfulness to the plush textured Tempranillo cherry and plum smorgasbord. Sourced from a 40-hectare 500 metre altitude plot of 80-year-old vines the 2009 is the 53rd iteration of the Gran Reserva Especial with 5 years oak barrelling blending 81% Tempranillo in American with 19% Mazuelo in French. Castillo Ygay 2009 is red fruit and flowers on the nose. A silky entry of cherries and damson plums leads to a deeper fleshed mid palate musculature with a layering of bright acidity, savoury earthy Spanish soulfulness, and classic Rioja charisma. Vanilla, coconut, cedar, orange rind, balsam, leather, walnut, nutmeg and forest floor all make their mark. There is a sensory tapestry appeal to this deep ruby potion of soft powered perfume, middle flavours, light cask and signature house energy. Harmonic, adroit and gym-worthy.

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